Chaucer wrote "Patience is a high virtue." I seriously doubt that ol' Geoffrey ever did a feather step or a heel turn but his observation is still true about modern ballroom dancing.
I've read complaints in several posts on this forum concerning the coordination of the lady with her partner in the execution of various figures, usually those involving turns (telemarks seem to be favorites). Such problems are often blamed on a lack of understanding of the figure itself. I believe that responsibility lies elsewhere: the impatience of the students and, sometimes, of the instructor.
I need to preface the following discussion with the admission that what I'm about to say may not apply to cultures outside the US. Sadly, it is definitely true of ballroom dancing in America.
In the culture of instant gratification that has developed in recent decades, people have come to expect immediate results for any efforts or expenditures that they put forth. Dance teachers, most of whom are simply trying to make a decent living, soon learn that they must produce tangible results quickly or their students will become bored and start spending their money on Tae-bo.
The quickest way to produce visible results in ballroom and Latin is to teach the students routines ahead of basics and to have them perform in showcases. This approach may keep the students happy for a few years but it encourages a bad habit among them: memorizing sequences of figures without learning how to execute those figures properly.
In short, the men don't learn how to lead and the ladies don't learn how to follow. They just go through their movements together, trying to create an effect that looks like dancing.
Admittedly, a big part of this issue is economic. Many prospective Waltzers and Rumbatics (
) can't afford more than one lesson a week or the hours of practice necessary to learn the fundamentals with due speed (which can be discussed in excruciating detail on this forum). For these people, developing proper framing, stepping, and shaping would mean that they wouldn't get to show off for a few years rather than six months. For the ladies, it would take them too long to get into "the dress."
When people point out that a man and woman don't come out of a telemark in the proper positions or seem to do their Progressive Links at different speeds, they're usually identifying either a failure to lead or an inability to follow or both.
It is the responsibility of the instructor to demonstrate correct form and movement. It is the obligation of the students to practice . . . and practice and practice.
Someone made a rather snide but true observation in a recent post that very few amateurs go to the trouble to obtain the manuals and to learn how to read them. A good instructor will encourage them to do so.
Having the manuals overcomes one potential obstacle to a good practice: being unsure of the steps. While there is no substitute for a competent teacher, amateur couples can develop their basic skills more quickly if they have some understanding of what they're trying to accomplish.
When a couple is having difficulty with a particular figure, they should adhere to a tried and true problem-resolution process.
First, the man should ALWAYS assume that a problem is his fault; the lady cannot follow until his lead is sound.
Is he stepping properly with the correct footwork? Does his frame remain solid throughout the figure? Does he signal his intentions with a good lowering movement? Is he turning his shoulders the right amount at the right time? Does he apply the correct amount of sway at the correct time? Is he generating movement from his center of gravity? Is he keeping time with the music?
Once the man is comfortable with his part then it's the lady's turn to examine her movements. Does she release her toe when stepping backwards? Is she capable of maintaining her own balance or is she leaning on him? Does she understand the difference between driving and leading and does she understand when she must drive and how? Does she know when to turn her head and why she needs to do so? Does she maintain both tone and flexibility in her frame?
When the man leads properly and his partner follows correctly, the figure will feel right to both of them. Of course, it always remains for the instructor to judge their progress at the next lesson.
I often come off as very cynical on this board but I know that good dance teachers love nothing more than to see REAL progress in their students. For their part, amateurs greatly increase the value they receive for their time and money when they apply their efforts to the basics.
More than anything else, they must be patient with each other . . . and with themselves.
jj
